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Good moring FCS and all. Happy Easter. Just a quick update on my father-in-law. Removed the vent yesterday and is breathing on his own. Actually ate a small meal in the evening. Is doing amazingly well!! Thanks to you all for your prayers and well wish"s. Hope you all have a great day, especially you FCS.
P.S. No Jimmy, I do not want to see your discharge

cantata
The term did not exist prior to the 16th century, when all "cultured" music was vocal. It originated in the early 17th century simultaneously with opera and oratorio. With the rise of instrumental music during this period the term emerged as the instrumental art became sufficiently developed to be embodied in sonatas. From the middle of the 17th until late in the 18th century a favorite form of Italian chamber music was the cantata for one or two solo voices, with accompaniment of harpsichord and perhaps a few other solo instruments. It consisted at first of a declamatory narrative or scene in recitative, held together by a primitive aria repeated at intervals. Fine examples may be found in the church music of Giacomo Carissimi; and the English vocal solos of Henry Purcell (such as Mad Tom and Mad Bess) show the utmost that can be made of this archaic form. With the rise of the da capo aria, the cantata became a group of two or three arias joined by recitative. George Frideric Handel's numerous Italian duets and trios are examples on a rather large scale. His Latin motet Silete Venti, for soprano solo, shows the use of this form in church music.

Originally Posted by timebuilder

It's been a great day here so far. Lunch with my elderly Dad, and an Easter Cantata this evening with my choir at church.

We'll be praying for good news to come tomorrow!

I WILL SELL WORK,GENERATE BUSINESS, GO GET NEW CUSTOMERS!
YOU SHUT THE HELL UP AND QUIT RUNNING YOUR MOUTH!

cantata
The term did not exist prior to the 16th century, when all "cultured" music was vocal. It originated in the early 17th century simultaneously with opera and oratorio. With the rise of instrumental music during this period the term emerged as the instrumental art became sufficiently developed to be embodied in sonatas. From the middle of the 17th until late in the 18th century a favorite form of Italian chamber music was the cantata for one or two solo voices, with accompaniment of harpsichord and perhaps a few other solo instruments. It consisted at first of a declamatory narrative or scene in recitative, held together by a primitive aria repeated at intervals. Fine examples may be found in the church music of Giacomo Carissimi; and the English vocal solos of Henry Purcell (such as Mad Tom and Mad Bess) show the utmost that can be made of this archaic form. With the rise of the da capo aria, the cantata became a group of two or three arias joined by recitative. George Frideric Handel's numerous Italian duets and trios are examples on a rather large scale. His Latin motet Silete Venti, for soprano solo, shows the use of this form in church music.

cantata
The term did not exist prior to the 16th century, when all "cultured" music was vocal. It originated in the early 17th century simultaneously with opera and oratorio. With the rise of instrumental music during this period the term emerged as the instrumental art became sufficiently developed to be embodied in sonatas. From the middle of the 17th until late in the 18th century a favorite form of Italian chamber music was the cantata for one or two solo voices, with accompaniment of harpsichord and perhaps a few other solo instruments. It consisted at first of a declamatory narrative or scene in recitative, held together by a primitive aria repeated at intervals. Fine examples may be found in the church music of Giacomo Carissimi; and the English vocal solos of Henry Purcell (such as Mad Tom and Mad Bess) show the utmost that can be made of this archaic form. With the rise of the da capo aria, the cantata became a group of two or three arias joined by recitative. George Frideric Handel's numerous Italian duets and trios are examples on a rather large scale. His Latin motet Silete Venti, for soprano solo, shows the use of this form in church music.